María Félix

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Mara de los ngeles Félix Güere (Spanish: [mai.a feli]; 8 April 1914 – 8 April 2002) was a Mexican actress and singer. She was one of Latin American cinema's most popular figures of the 1940s and 1950s, along with Pedro Armendóriz and Dolores del Ro. Her talent for the finesse and good appearance earned her the title of diva early in her career, making her one of Mexico's most glamorous actresses. She was known as La Doa, a name that derives from her appearance in Doa Bárbara (1943) and Mara Bonita (1953), and Mara Bonita (1973), thanks to the anthem composed solely for her as a wedding present for Félix's second husband, Agustn Lara. She has appeared in 47 films from Mexico, Spain, France, Italy, and Argentina.

Early life

Mara de los ngeles Félix Güere was born in lamos, Mexico, on April 8, 1914. Her birth was recorded on May 4, but it was later reported as her date of birth.

Josefina Güereb Rosas, a military officer and politician of distant Yaqui descent, and Bernardo Félix Flores, a senator from Basque Mexico, were both of Basque Mexican ancestry. Josefina, Mara de la Paz, Pablo, Bernardo, Miguel, Marzo, Miguel, Mara de las Mercedes, Fernando, Victoria Eugenia, Benjamn, and Ana Mara del Sacramento were five siblings.

She grew up in lamos.' She had a close relationship with her brother Pablo during her childhood. The two siblings' mother separated them because they might be involved in an incestuous relationship. Pablo was sent to the Colegio Militar, in Mexico City, for this reason.

The Félix family moved to Guadalajara later that year. Marjo's beauty attracted notice when she was 17 years old. At the University of Guadalajara, she was named Beauty Queen. It was at this time that she first encountered Enrique lvarez Alatorre, a salesman for Max Factor, and that she was attracted to him. The couple married in 1931 after a brief romance. In 1935, Félix gave birth to Enrique, her only child, who was named Quique. Her marriage with lvarez was unsuccessful, and the couple divorced in 1937. Félix and her family returned to Guadalajara, where she was the subject of gossip and rumors as a divorced woman. Félix and her son were forced to move to Mexico City due to this situation.

She worked as a receptionist in a plastic surgeon's office in Mexico City and lived in a guest house. The child's mother discovered it on a single day but refused to give him back to his mother. lvarez brought the child to Guadalajara. With the help of Agustn Lara, her second husband, Félix's son was recovered. They planned an intricate recovery that befuddled the grandmother and took the child.

Personal life

Félix was married four times. Enrique lvarez Alatorre was her first marriage (1931-1938). Enrique lvarez Félix, the actor, fathered her only child. Once she discovered her son wearing a white dress and necklace, journalist Sergio Almázon said she was stunned. She beat him unconscious because she was enraged. Varez retaliated by bringing their son to Guadalajara. With the support of her second husband, Agustn Lara, years ago, Félix was able to bring her son back to his son.

In his early years, Félix's son was distant, and she sent him "to discipline" him in schools. Enrique made it back to Mexico and began a career as an actor in film and television years ago. "Enrique is a very gifted man with an admirable common sense," Félix said of her son. He's my best friend. I have so much fun with him. Some believe he is not a'mama's boy.' It's much easier to be self-employed than being homeless. He has his own business, his fans, his website, and assumes his obligations without relying on me." Félix was greatly affected by Enrique's unexpected death from a heart attack in 1996.

Félix's brief marriage to Ral Prado, a Tract member, has caused conflicting rumors that she never married nor ever lived. The bulk of the sources agree that Prado and Félix reportedly married in 1943 after meeting on the set of The Rock of Souls and breaking two months after the wedding. Enrique Serna, a Mexican writer, talked to Miguel Bermego, the trio's last survivor who told him he was a witness to the marriage. Mara Escalera of Prado reiterated the union, saying that it came to an end when Agustn Lara gave Félix a white piano as a gift, and "Ral threw her out with the piano." They then divorced. So, Mara Félix was apparently my t-pola [aunt-in-law]," he said. Paco Ignacio Taibo wrote about the marriage as factual, saying, "Mara will meet Ral Prado, a Los Calaveras trio," in his book Félix Mara Félix: 47 pasos por el cine." They married in a short time after a court hearing and then divorced shortly after. This is one of the actor's most closely guarded chapters. Mara's family members keep complaining that it was crazy." The marriage in Prado's newspaper El Pas in April 1989 was reported as factual, as had several obituaries of Félix's, such as the one in Argentina's La Nación, which only cited "a biography" as a source. It was described by TVyNovelas as one of the "myths" surrounding Félix. It is known that Félix has vehemently denied ever having married Prado. Serna, who also interviewed Félix, said, "I asked her about her marriage to Ral Prado (which she denied until the end), and she told me that if I were going to keep those lies, we wouldn't be able to work on the book." Serna wrote: "At one point she told me, 'Write what you want about me because they know anything about me." "I slept with an octopus," says the author.

Agustn Lara's second marriage (1945–1947) was her second marriage (1945–1947). Félix had been a fan of Lara since her adolescence. They were officially introduced by a mutual friend, actor Tito Novaro. The two began a long-awaited marriage in 1945, which culminated in marriage. "Smoke in the eyes"), "Dos puales" ("Today"), "Madrid"), "Madrid" ("Dos puales"), "Madrid"), "Madrid"), "Madrid"), and perhaps especially "Marta Bonita," which was composed in Acapulco during their honeymoon, Lara immortalized Félix in a number of songs, including "Lara immortalized "Mara Bonita" will be one of Lara's most popular songs. However, the marriage ended in 1947 due to Lara's jealousy. Lara reportedly threatened to kill her out of jealousy, according to Félix.

Félix had romances with some well-known men, including Mexican aviation pioneer Jorge Pasquel, Spanish bullfighter Luis Miguel Domingujn, and Argentinae actor Carlos Thompson after her second divorce. Félix and Thompson met in Argentina in 1952 during the filming of Luis César Amadoris' La pasión desnuda, and the friendship was apparently serious to the point that they became engaged to be married, and Félix even requested that her son Enrique lvarez Félix meet his prospective stepfather. However, Félix received a phone call from director Emilio Fernández to offer her the leading role in The Rapture, which Félix accepted, not alerting Thompson that after filming of La pasión desnuda ended she will return to Mexico to promote the film and announce their future marriage. However, when Félix first arrived in Mexico, she cancelled the wedding days days before it took place, saying that the only thing that brought her to Thompson was physical attraction, not real love.

Félix was introduced by artist Leonor Fini to French writer Jean Cau, assistant of writer Jean Paul Sartre, during her stay in France. Félix had a brief friendship with Cauce for a brief period of time. Suzanne Baulé, better known as Frede, was involved in a passionate same-sex affair with Félix from 1950 to 1954, and the two women spent together at the Hotel George-V in Paris. The relationship was captured in a painting by Fini of a plant with two flowers; one had the face of Félix and the other was Frede's. On learning of Félix's friendship with Carlos Thompson, Frede followed him on filming trips to Buenos Aires and Sao Paulo. Félix and Frede's relationship was marred by Félix's marriage to Jorge Negrete, but Félix and Negrete's relationship with Frede was briefly revived in Paris after Negrete's death in 1953. However, they would perform well in 1954, triggering a court fight in which Félix tried to recover jewelry she had given to Frede and accused her of theft. Félix lost her case, but Frede was cleared and kept the jewelry. Despite this, Félix retained ownership of the painting Fini made of the two women, and then Félix ordered Fini to retouch it to erase Frede's face, transforming Frede's face to her own, resulting in the painting's two flowers displaying Felix's face.

When Félix returned to Mexico after her stay in Europe and Argentina, she was reunited with an "old adversary": actor and singer Jorge Negrete. "surrendered to my feet" after their tumultuous first meeting ten years ago on the occasion of El peón de las ánimas, Félix found Negrete in her own words: "surrendered to my feet." The couple married in 1953, and were broadcast by radio to all Latin America, including Tlalpan. Negrete was already sick when the wedding took place, and died 11 months later at a hospital in Los Angeles, United States, while Félix was shooting La Belle Otero, a European country-based terrorist. Félix's appearance at his funeral, dressed in trousers, caused a major scandal, prompting Félix to flee Europe.

Alexander Berger, a Romanian-born French banker, was her fourth marriage (1956–1974). When Félix and Berger were both married in the 1940s, they met together. They met again years later. For 18 years, Félix was married to Berger. She attempted to become a mother again, but Félix lost the child during a filming in 1957. In Cuernavaca, she built La Casa de las Tortugas (The House of Turtles), designed by Pepe Mendoza and resembling an Italian villa. Berger died of lung cancer in 1974, a month after the death of Félix's mother, which sent her into deep depression. She found a new passion in horses, which she managed to get over this sadness. Some of her horses have been recognized for major international equestrian awards. Félix rode her horses for 11 years.

Antoine Tzapoff, a Russian-French painter, was her last intimate acquaintance. About him: I'm not sure if he's the guy who has the most affection for me, but he's the one who has loved me the best.

The press speculated about a strong rivalry between Félix and Dolores del Ro, Mexico's other top female figure and a well-known Hollywood actress, and a well-rested Hollywood actress. "I had no rivalry with Dolores," Félix said. On the contrary, we were all allies and always treated each other with a great deal of reverence, each with our own unique personality. We were completely different. She was refined, interesting, delicate on the situation, and I'm a young, selfish, and bossy."

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Career

Her response was:

Palacios persuaded her not to go back to the movies, but she eventually agreed. He began to prepare her and film her "Pygmalion" as she became her "pygmalion." Her first appearance in the Mexico City Country Club's "White and Black Ballroom" welcomed many of the best Mexican film stars of the period (Esther Fernández, Lupe Vélez, Andrea Palma) assembled. Cecil B. DeMille, who promised to begin her film career in Hollywood, was eventually transported to Hollywood, to the Metro-Goldwyn-Mayer Studios, but Félix was not interested. She wanted to begin her career in her own country. She was eventually offered the female lead role in a Grovas Productions film titled El Peón de las nimas, directed by Miguel Zacaroas, thanks to Palacios.

Félix starred in the film El Peón de las nimas, opposite Mexican actor and singer Jorge Negrete. Mara Félix and Jorge Negrete started off in a bad relationship during the filming because he had requested that his girlfriend, actress Gloria Marn, be given the lead role. For this reason, the filming of the film was lengthy and culminated in a direct confrontation between Félix and Negrete. The confrontation helped to solidify Félix's image as a tough and arrogant woman.

Mara Eugenia Félix's second film, Mara Eugenia, Félix, will be seen in a role that would be out of her temperamental film persona. However, the film is also known as the first film in which Félix appeared in swimwear. The same thing happened with the film La china poblana (1943), where Félix owed a debt of appreciation to her discoverer Fernando Palacios, who supervised the film. No one has heard about this film (the second color film of the Mexican cinema), so it is considered lost. Both films were described as "her first sins."

Félix was known as La Doa (1943), based on the Venezuelan writer Rómulo Gallegos' novel. Another actress (Isabela Corona) was already cast for the film, but when Gallegos first saw Félix, he was charmed by her and said, "Here is my Doa Bárbara!" This film was shot in Venezuela with Mexican and Venezuelan actors. Doa Bárbara was supposed to begin her major collaborations with Mexican film director Fernando de Fuentes. Both Félix and de Fuentes shot two films together: La Mujer sin Alma (1944) and La Devoradora (1946). "I became the number one critic of the Mexican family morals with these films," Mara Félix said.

Mara Félix shot two sophisticated films: El monje blanco (1945), directed by Julio Bracho, and Vertigo (1946), directed by Antonio Momplet, without her stereotypical role as a "femme fatale." Both characters needed a lot of drama.

Mara Félix made three successful films under Emilio Fernández's direction: Enamorada (1946), Ro Escondido (1947), and Maclovia (1948). Despite the film director's fiery and popular temperament, the relationship between Félix and Fernández was cordial and smooth. Mara Félix, a Mexican actress, found her perfect film partner in Enamorada, Pedro Armendáriz. Marélix's films (writer Mauricio Magdaleno, photographer Gabriel Figueroa, and Armendáriz) had a strong presence at several international film festivals. In return, they gave Mara Félix their first Ariel Award for Enamorada and Ro Escondido.

Mara Félix appeared in several films with Fernández, as well as Roberto Gavaldón, another director who showcased some of her best performances. They first worked together in La diosa arrodilla (1947) with Arturo de Córdova. Mara Félix's fame has spanned the Atlantic thanks to these films.

In 1948, Cesález, the Spanish film maker, had her on film. Mara Félix began her film journey in Europe in this manner. She made only one more film in Mexico (Doctor Diabla, 1949), before returning to work in 1952.

With the film Mare Nostrum (1948), directed by Rafael Gil, Félix made its debut in Spain's European cinema. Gil made two other films in 1950: Una mujer cualquiera and La noche del sábado. She filmed La Couronne Noire, a French-Spanish film directed by Luis Saslavsky in 1951, based on a Jean Cocteau tale. Incantesimo Tragico (1951), a film that premiered in Italy. She directed Messalina (1951), directed by Carmine Gallone (at the time, the most expensive film of Italian cinema at the time). Her father died of a heart attack in Navojoa during filming of this film.

Félix went to Argentina in 1952, where she filmed La pasión desnuda of Argentina's Luis César Amadori. Félix returned to Mexico in the same year. Camelia filmed in her native country, bringing an end to her working relationship with Cesález. Emilio Fernández's last film, her stay in Mexico was mainly based on her marriage to actor and singer Jorge Negrete, her ex film foe, with whom she shot El rapto.

After Negrete's death on December 5, 1953, Félix returned to Europe. She made the films La Belle Otero (1954) and Les Héros Fatiés (1955), as well as Yves Montand. However, Jean Renoir's most important film of Félix in this period was French Cancan (1954) directed by Jean Renoir with Jean Gabin, the legendary French actor. Faustina, Spain's last film shot entirely in Europe, was her last film shot entirely in Europe.

In 1955, Félix returned to Mexico. This time in her career was characterized by her appearances in period pieces influenced by the Mexican Revolution. With La Escondida (1955), this cycle begins. She appeared in this film, as well as in Canasta de cuentos mexiconos (1955) and Café Colón (1958), and she appeared in Canasta de cuentos mexicanos (1955) and Café Colón (1958). She appeared in Tizoc with actor and singer Pedro Infante in 1956. Despite her international success, the actress did not like the film. She and Jack Palance continued to film Beyond All Limits (1957) together with Jack Palance, as well as the melodramas Ash Wednesday and The Empty Star (both 1958). Dolores del Ro, a top billing lead in 1959, appeared in The Soldiers of Pancho Villa with top billing lead Dolores del Ro. In 1959 she appeared in the Spanish-Mexico coproduction Sonatas directed by Juan Antonio Bardem and the French-Mexico co-production La Fièvre Monte à El Pao, directed by Luis Buuel.

In the 1960s, Félix's presence in the cinema was restricted to just a few films. Juana Gallo (1960), La bandida (1963), Amor y sexo (Sapho '63, 1963), and La Valentina (1966). In 1970, she shot La Generala, which would be her last film. La Constitución, Mexico's historic theater, (1971), will be her last professional acting role. Once more, Félix attempted to return to the theater twice. First in 1982, with the film Toya Machetes, and then in 1986 with the film Insólito resplandor. Neither project was crystallized, and Félix never appeared on film again.

Félix received film jobs throughout her career, but Félix herself said, "They only give me huehuenche (Indian) roles. Though she was in France, Hollywood gave Duel in the Sun to Jennifer Jones, but she declined and the role was given to Jennifer Jones. With Humphrey Bogart, another plan was The Barefoot Contessa, but she turned down the project and instead made La Belle Otero in France. Ava Gardner played the part. The Legend of Lylah Clare's script was sent later by Robert Aldrich, but she did not reach an understanding with the director, and Kim Novak was given the role.

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